C-Print on Gitter HW
618 × 850 cm
2020
What happens after the death of a site-specific artwork? I took 'Cloud Atlas' on a trip to France and put it over that weird shaped wall in the gallery.
Installation view Galerie Commune Tourcoing
EN
What happens to a site-specific work after the duration of the exhibition? Does it still have a right to exist afterwards? Does it live on, is it torn apart, buried, destroyed or condemned to an existence in a dark warehouse? I have decided to pursue these questions about the nature and end of a site-specific work with my piece 'Cloud Atlas', which was created explicitly for the façade of Kunsthaus Baselland in 2014. In summer 2015 the 'Cloud Atlas' began its long journey to Amsterdam's Studio 47. There it was squeezed into the too small room and was only erected at the top of the picture using a wooden support.
Two years later, the cloud squeezed itself into a small living room in the Villa Renata in Basel. It was trapped like a stray housefly at the end of that mild summer in the villa's cubic room. The plane was held in place by wooden slats inserted between floor and ceiling, and the viewers were invited to enter the room. They must step on the art with their feet in order to view it in its entirety.
Three more years later, the cloud was now taken on a journey to Tourcoing near Lille, where it was laid over a post-modernist sloping concrete wall, typical for the new university complex.
DE
Was geschieht mit einem ortsspezifischen Werk nach der Ausstellung? Lebt es weiter, wird es zerrissen, begraben, zerstört oder zu einem Dasein in einem dunklen Lager verdammt?
Ich habe mich dazu entschieden mit meiner Arbeit ‘Cloud Atlas’, die explizit für die Fassade des Kunsthaus Baselland im Jahr 2014 entstanden ist, fortan diesen Fragen nach dem Wesen und dem Ende einer Ortsspezifität nachzugehen.
Im Sommer 2015 trat der Cloud Atlas die Reise ins Amsterdamer Studio 47 von Celine Manz an. Dort floss er im den Ausstellungsraum hinein, einzig an seiner Kopfseite aufgerichtet. Zwei Jahre später presste er sich in eines der kleinen Zimmer von Villa Renata in Basel und verbrachte den lauen Sommer dort. Bis er im frühen 2020 über einer postmodernistischen Betonwand in Tourcoing bei Lille zu hängen kam.